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Mozart (Re)Inventions Ensemble Paladino

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RZ_pmr0050_BOOKLET-Lamb-Rummel_24-stg_Layout 1 22.12.14 17:58 Seite 1 mozart (re)inventions ensemble paladino lamb rummel RZ_pmr0050_BOOKLET-Lamb-Rummel_24-stg_Layout 1 22.12.14 17:58 Seite 2 RZ_pmr0050_BOOKLET-Lamb-Rummel_24-stg_Layout 1 22.12.14 17:58 Seite 3 mozart (re)inventions eric lamb & martin rummel 3 RZ_pmr0050_BOOKLET-Lamb-Rummel_24-stg_Layout 1 22.12.14 17:58 Seite 4 Wolfgang Amadeus Mozart (1756–1791) arr. Eric Lamb & Martin Rummel from “Die Zauberflöte“ from the “London Sketchbook” (“The Magic Flute”), K 620 07 […] K Anh. 109b, No 1 (K 15a) 01:40 01 “Der Vogelfänger bin ich ja” 01:27 02 “Das klinget so herrlich” 01:21 08 Menuet in G Major, K 1 (1e) 02:13 09 Menuet in F Major, K 2 00:58 Duo in G Major, K 423 10 Allegro in B Flat Major, K 3 01:05 (original for violin and viola) 11 Andante in F Major, K 6 03:10 03 Allegro 06:58 12 Menuet in D Major, K 7 01:10 04 Adagio 03:34 13 […] K 15hh 01:58 05 Rondeau. Allegro 05:29 14 […] K 33b 01:12 06 Allegro in C Major 02:27 Duo in B Flat Major, K 424 (original for violin and viola) 15 Adagio - Allegro 08:43 16 Andante cantabile 03:06 17 Andante con variazioni 09:09 from “Die Zauberflöte“ (“The Magic Flute”), K 620 18 “Ein Mädchen oder Weibchen” 01:07 19 “Wie stark ist nicht dein Zauberton” 02:50 TT 59:40 4 RZ_pmr0050_BOOKLET-Lamb-Rummel_24-stg_Layout 1 22.12.14 17:58 Seite 5 Eric Lamb, flute Martin Rummel, cello 5 RZ_pmr0050_BOOKLET-Lamb-Rummel_24-stg_Layout 1 22.12.14 17:58 Seite 6 RZ_pmr0050_BOOKLET-Lamb-Rummel_24-stg_Layout 1 22.12.14 17:58 Seite 7 “Mozart (re)inventions” is ensemble paladino’s The Duos K 423 and 424 were written in Salzburg continued reimagining and exploration of classical works during the summer of 1783, as favors for his old friend of great composers. Our point of departure for this Michael Haydn. Aware of Haydn’s failing health and project are the keyboard works of the young Wolfgang the stress that he was under to complete a series of six Amadeus Mozart (1756–1791). Through a wealth of duos for violin and viola commissioned by Archbishop letters between the members of the Mozart family we Colloredo (a violinist himself known for being a tyrant), read that both Wolfgang and his older sister Nannerl Mozart who happened to be in Salzburg visiting his profited early on from their father’s unique and playful newly widowed father, stepped in to help his dear friend. music education at the piano and on the violin. His Although Mozart was known to have made several rude sister Nannerl writes that they both spent lots of time at remarks toward Michael in letters, it is quite clear that the piano playfully picking out thirds. They both learned the young Mozart respected and studied Michael Haydn’s and flawlessly played Minuets and other small pieces works. Both K 423 and 424 are respectful nods to the composed by their father and later began composing compositional prowess of Haydn. Mozart however being their own small pieces as a means of learning counter- Mozart, it is clear who the real musical genius was point and musical phrasing. Their early life was filled amongst these two men. Mozart skillfully contains him- with touring together performing as a family all over self while at the same time showing us glimpses of his Europe. They were influenced by all of the things that own still evolving style. Europe had to offer and as children entertained the high society with the joy of music making. No exploration of Mozart would be complete without a glimpse into his opera. “The Magic Flute” (“Die The pieces K 1–3, 6 and 7, the untitled piece from the Zauberflöte”) K 620 was premiered in Vienna in 1791, “London Sketchbook“ K Anh. 109b No 1 (15a) three months before his untimely death. The four famous and the untitled piece K 33b were all completed before melodic fragments highlighted in our exploration well young Mozart turned 11 years old. While listening to represent the playfulness and pure joy found through- these early pieces, one can almost hear two very clever out this truly magical work. It is this spirit that brings us and gifted children laughing and running playfully. It is full circle, a reminiscence of his youth. this spirit of play and joy of music making that will guide Mozart through his astonishingly prolific and short life. 7 RZ_pmr0050_BOOKLET-Lamb-Rummel_24-stg_Layout 1 22.12.14 17:58 Seite 8 RZ_pmr0050_BOOKLET-Lamb-Rummel_24-stg_Layout 1 22.12.14 17:58 Seite 9 ensemble paladino “... let us begin and create in idea a State; and yet A critical component to the ensembles existence is its a true creator is necessity, which is the mother of our programming. Because of its flexible nature, ensemble invention.” paladino prides itself on its mobility. Each player has the (Plato, Der Staat) privilege of working together in many different constel- lations, therefore allowing for dynamic programming. Besides being a performing body, ensemble paladino Most great things are created or come into being presents educational concerts, master classes and com- because of necessity. The need to present uncompro- poser workshops throughout the European Union. mising, diverse and fearless chamber music on the highest level is what sparked the creation of ensemble ensemble paladino has its home at the ORF Radio- paladino. ensemble paladino is a mixed group of string, kulturhaus in Vienna and is our playground built upon wind and keyboard players based throughout Central the necessity of communal music and decision making Europe. All renowned soloists, recording artists and and we happily invite listeners and music lovers from all pedagogues in their own right, ensemble paladino draws over to share in the fun. upon the rich experiences of each player, making it both a democratic and organic structure. www.ensemble-paladino.org 9 RZ_pmr0050_BOOKLET-Lamb-Rummel_24-stg_Layout 1 22.12.14 17:58 Seite 10 RZ_pmr0050_BOOKLET-Lamb-Rummel_24-stg_Layout 1 22.12.14 17:58 Seite 11 Flutist Eric Lamb is in demand internationally as a Nationale de Musique et Danse La Rochelle and has soloist, recitalist, concert curator and chamber musician. given master classes at Eastern Michigan University, He has premiered more than 200 works and has worked Smith College, the University of Virginia, the University closely with composers John Adams, Kaija Saariaho, of Auckland (NZ), Victoria University of Wellington, Uni- George Lewis, Marc-Andres Dalbavie, Matthias Pintscher, versity of Waikato, Bowling Green University, University Reinbert de Leeuw, Michel van der Aa, Nico Muhly, of South Carolina, Akademie für Musik Wiesbaden and Ben Foskett and conductors Vladimir Ashkenazy, Ludovic Northwestern University. Morlot, Pablo Heras-Casado, Steve Schick, Susanna Mälkki and Pierre Laurent-Aimard. He was a recipient of the Millennium Young Artists' Award from the James Tatum Foundation of the Arts, Eric is a regular guest with many major orchestras, the National John Philip Sousa Award and a Dean's ensembles and festivals. He has performed with the Talent Scholarship from Oberlin College. He was a HR Radio Orchestra Frankfurt, Chamber Opera Orchestra finalist at the International Music Competition “Pacem of Frankfurt, the City of Birmingham Orchestra, the Slee in Terris” (Bayreuth, Germany) and won first prize in Sinfonietta, Ensemble Labortorium Basel, ASKO/ the Polytechnische Gesellschaft Chamber Music Com- Schönberg Ensemble, Ensemble Recherche, Alarm Will petition, first prize in the Lenzewski Music Competition Sound, American Contemporary Music Ensemble and followed later that year with first prize in the German the Sphinx Symphony Orchestra. He has been invited Academic Exchange Performing Arts Competition. to perform at festivals in Darmstadt, Graz, Salzburg, Lockenhaus, Acht Brücken in Cologne, Mostly Mozart A native of Detroit Michigan, Eric completed studies Festival, and the Heidelberg Spring Festival, to name but at the Oberlin Conservatory of Music, the Hochschule a few. Eric performed extensively as a core member für Musik Frankfurt am Main and the Sculoa di Musica of the New York/Chicago based International Contem- di Fiesole, Italy. His teachers include Michel Debost, porary Ensemble – ICE. Thaddeus Watson, Chiara Tonelli and Vicens Prats. He continues to be a much sought after pedagogue Eric is an Altus performing artist and an advocate of and is regularly invited to present workshops, master wooden flutes and head joints by S. Kotel. classes and lectures throughout Europe and the US. He has been artist in residence at the Conservatoire www.fluteaddict.weebly.com 11 RZ_pmr0050_BOOKLET-Lamb-Rummel_24-stg_Layout 1 22.12.14 17:58 Seite 12 RZ_pmr0050_BOOKLET-Lamb-Rummel_24-stg_Layout 1 22.12.14 17:58 Seite 13 “[…] a tempting concept to present Martin Rummel of Auckland, he has become a renowned pedagogue in as the latest candidate for ‘most distinguished Viennese his own right. Mr Rummel is frequently invited to give cellist of today’. And perhaps he is.” wrote David W Moore masterclasses all over the world at institutions such as in the American Record Guide about Martin Rummel’s the Shanghai and New England Conservatories, the album of Merk’s “Fleurs d’Italie” (Naxos) in 2013. Longy School of Music, Folkwang University of the Arts, the International Summer Academy in Lenk or the Uni- The cellist, born in 1974, can currently be heard on versity of St Andrews. nearly 40 albums, the last of which to have raised inter- national attention being the premiere recording of the As a chamber musician, Martin Rummel is connected Complete Cello Concertos by the Baroque composer with colleagues and Ensembles of all generations, Andrea Zani together with Die Kölner Akademie for including artists such as Dimitri Ashkenazy, Friedemann Capriccio – an unparalleled recording career in Rummel’s Eichhorn, Homero Francesch, Christopher Hinterhuber, generation.
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  • David POPPER

    David POPPER

    POPPER Cello Concertos Martin Rummel, Cello Mari Kato, Piano Czech Chamber Philharmonic Orchestra Pardubice Tecwyn Evans David Popper (1843–1913) Cello Concertos The cellist David Popper was born in Prague in 1843, the element in the repertoire of aspirant cellists, while his and recorded here with piano accompaniment, a medium followed by the inevitable dotted rhythms of the rapid final son of the Prague Cantor. He studied the cello there other works include compositions that give an opportunity to which it is well suited. It is introduced by the piano, with movement, recalling elements of the opening. Suggesting under the Hamburg cellist Julius Goltermann, who had for virtuoso display. dotted rhythms that have a continuing part to play in the chamber music rather than a concerto, the work adds to taken up an appointment at the Prague Conservatory in Popper’s Cello Concerto No. 1 in D minor, Op. 8, whole work. The cello enters with a display of double- the series of four concertos that reflect Popper’s growing 1850. It was through Liszt’s then son-in-law, the pianist was published in Mainz in 1871 and dedicated to his stopping and is later to introduce a secondary lyrical maturity as a composer, with music rather than technical and conductor Hans von Bülow, that Popper was former teacher, Julius Goltermann. After two bars of theme. The following short Lento assai , starts in a sombre virtuosity at the heart of the final concerto. recommended in 1863 to a position as Chamber Virtuoso orchestral introduction, the soloist enters with an F major F minor, gradually assuming a more lyrical mood, as it at the court of the Prince Friedrich Wilhelm Konstantin ascending arpeggio, an indication of some harmonic leads, through a short cadenza, to a third movement, Keith Anderson von Hohenzollern, who had had a new residence with a ambiguity.
  • CHRISTOPHER HINTERHUBER Piano

    CHRISTOPHER HINTERHUBER Piano

    CHRISTOPHER HINTERHUBER Piano “One of the best and most fascinating piano recordings of the year“, wrote the German magazine Fono Forum about his recording of Sonatas and Rondos by Carl Philipp Emanuel Bach, followed by an „Editor‘s Choice” by the renowned English Gramophone Magazine for the recording of works for piano and orchestra by Hummel. Another recording which has brought him international attention was the recording of all Piano Concertos by Ferdinand Ries with the New Zealand Symphony Orchestra, Royal Liverpool Philharmonic and other orchestras. Born in Austria, Christopher Hinterhuber studied with Alex Papenberg, Rudolf Kehrer, Lazar Berman, Avo Kouyoumdjian and Heinz Medjimorec at the University for Music and performing Arts in Vienna and the Accademia „Incontri col Maestro“ in Imola, Italy acquiring additional artistic input from such artists as Oleg Maisenberg and Vladimir Ashkenazy. He has won numerous top prizes and honors at the international piano competitions in Leipzig (Bach), Saarbrücken (Bach), Pretoria (Unisa), Zurich (Geza Anda) and Vienna (Beethoven) among others. As “Rising Star” 2002/03, he performed with violinist Patricia Kopatchinskaja in the international series at the Carnegie Hall, New York and in all important musical centers in Europe. The last few years have seen him play in major festivals such as the Schleswig-Holstein- Festival in Germany, Styriarte Graz, Carinthischer Sommer in Ossiach, Mozartwoche in Salzburg, Schubertiade Schwarzenberg, the Ruhr Piano Festival and the Prague Autumn; under such